Originally from Oregon and Ohio, Kenney always knew she wanted to be a writer. After earning a journalism degree from Ohio University, she worked on small newspapers until classes in playwriting and television writing led to a move to Los Angeles in 1987. She met her husband, writer/producer Fred Golan, the same year. A voracious reader, particularly of historical fiction, Kenney enjoys the process of adaptation but acknowledges that Outlander can be problematic. While the first season was fairly straightforward, with Claire mostly trying to find her way back home to the 20th century, the second season, now well under way, was far more complicated to adapt. I won’t spoil it for those who haven’t yet watched, but as Kenney says, “there was so much exposition, so much more explaining to do.” Things won’t get easier for the writers if the show continues on to season three. Gabaldon’s books are famous for their geographical reach and huge jumps in time.
The Outlander writers are based in Los Angeles (the writers’ room is in the Valley and Kenney crafts her scripts at home) but all are producers as well, which means periodic stints in Scotland to supervise production of episodes. The show is shot at a studio in Cumbernauld, just outside of Glasgow. The cast and crew also spend a huge amount of time on location. As a supervising producer “you’re there at the beginning and during prep when we’re deciding what the locations will be and what scenes stay or go for production reasons,” says Kenney. “We work with the actors and directors and there’s a give and take. Sometimes there’s something I’ve heard in my head and one of the actors will come up and say ‘this sounds really weird to me’. There’s a negotiation that goes on.”
For example, she points out that it’s “very interesting” working with Menzies, who plays a dual role: Claire’s twentieth century husband Frank and his 18th century ancestor, the villainous Black Jack Randall. “I think the assumption is that actors want more to say, rather than less,” she says. “I’ve found that’s generally not the case…especially with Tobias. He often feels he can tell the story more effectively with fewer words, and frequently he’s right.”
Outlander production has been a boon to the economy in the areas where the show shoots, as Kenney saw one day on location with Gabaldon. “Diana and I were in a coffee shop in a place called Culross. We had our headsets around our necks…our names were on the back. After picking out some stuff, the guy followed us out, went up to Diana and said, ‘oh my god, are you Diana Gabaldon? You’ve brought us so much business..everything’s on the house for you.’ After that the joke was that we all should write her name on our headsets to get free food.”
In addition to dealing with inclement weather, Kenney has found some differences in the way Scottish sets are run. The typical working day is 10 hours (unless the crew agrees to go over) unlike the usual 12-14 hour day in the U.S. There is also a “right to walk” rule that allows the public to legally access any location where the crew is shooting. But so far “people have been very respectful and the actors have been extremely gracious with fans who show up and want to talk and have pictures taken,” Kenney says. She admits that one of her (and fellow writer Toni Graphia’s) biggest problems is understanding some of the Scottish accents. The desk clerk at their hotel was one of the toughest to decipher. “He could have said ‘there’s a serial killer on the third floor’ and we’d be like, great!”
Source: LAObserved, by Judy Graeme, Read the full article Here